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Dissertations / Theses on the topic 'Still-life in painting'
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Gao, Tongxin. "Still Life Portrait : Contemporary jewelry in the form of still life painting." Thesis, Konstfack, Ädellab, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-7217.
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This paper presents an investigation in how a jewelry artist understands the life and death, permanence and impermanence of human, objects, and other creatures, by communicating still life in the form of jewelry. I will bring up a fact that death and impermanence have been forgotten by my peers, and use still life and contemporary jewelry to discuss it. The paper mainly talks about: my opinion upon life and death in modern society, why and how did I related them with still life paintings, how did I make my jewelry based on still life, and discusst a dilemma I met: how will jewelry be when they are on and not on people’s body.
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Winn, Laura L. "Grandma's pitcher : a series /." Online version of thesis, 1991. http://hdl.handle.net/1850/11611.
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Beiermann, Joyce A. "THE UN-STILL LIFE." VCU Scholars Compass, 2006. http://hdl.handle.net/10156/2046.
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Cardwell, Thomas. "Still life and death metal : painting the battle jacket." Thesis, University of the Arts London, 2017. http://ualresearchonline.arts.ac.uk/12036/.
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This thesis aims to conduct a study of battle jackets using painting as a recording and analytical tool. A battle jacket is a customised garment worn in heavy metal subcultures that features decorative patches, band insignia, studs and other embellishments. Battle jackets are significant in the expression of subcultural identity for those that wear them, and constitute a global phenomenon dating back at least to the 1970s. The art practice juxtaposes and re-contextualises cultural artefacts in order to explore the narratives and traditions that they are a part of. As such, the work is situated within the genre of contemporary still life and appropriative painting. The paintings presented with the written thesis document a series of jackets and creatively explore the jacket form and related imagery. The study uses a number of interrelated critical perspectives to explore the meaning and significance of the jackets. Intertextual approaches explore the relationship of the jackets to other cultural forms. David Muggleton’s ‘distinctive individuality’ and Sarah Thornton’s ‘subcultural capital’ are used to emphasise the importance of jacket making practices for expressions of personal and corporate subcultural identity. Italo Calvino’s use of postmodern semiotic structures gives a tool for placing battle jacket practice within a shifting network of meanings, whilst Richard Sennett’s‘material consciousness’ helps to understand the importance of DIY making practices used by fans. The project refers extensively to a series of interviews conducted with battle jacket makers between 2014 and 2016. Recent art historical studies of still life painting have used a materialist critique of historic works to demonstrate the uniqueness of painting as a method of analysis. The context for my practice involves historical references such as seventeenth century Dutch still life painting. The work of contemporary artists who are exploring the themes and imagery of extreme metal music is also reviewed.
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Clements, Cassie. "Outside inside /." Morgantown, W. Va. : [West Virginia University Libraries], 2010. http://hdl.handle.net/10450/11100.
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Thesis (M.F.A.)--West Virginia University, 2010.<br>Title from document title page. Document formatted into pages; contains iii, 42 p. : col. ill. Vita. Includes abstract. Includes bibliographical references (p. 23).
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Chéhab, Krystel. "Material conversions: naturalism, discernment, and seventeenth-century Spanish still-life painting." Thesis, University of British Columbia, 2015. http://hdl.handle.net/2429/52895.
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The full abstract for this thesis is available in the body of the thesis, and will be available when the embargo expires.<br>Arts, Faculty of<br>Art History, Visual Art and Theory, Department of<br>Graduate
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McCune, Janet Marie Krupp. "Re-envisioning the ordinary : a study of vantage points in painting." Virtual Press, 1993. http://liblink.bsu.edu/uhtbin/catkey/864937.
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Viewed from odd angles, the ordinary looks new and the commonplace becomes unusual. The purpose of my creative project, Re-envisionina the Ordinary: A Study of Vantage Points in Painting, was to use unusual vantage points and multiple viewpoints as compositional devices to show familiar household scenes and objects in a new way. Analysis of artworks and writings by realist painters such as Edgar Degas, Paul Cezanne and Pierre Bonnard helped me learn how each of these artists used unusual or multiple viewpoints While researching these artists, I began to understand why space is one of the fundamental issues of art. I found that, as an artist, I cannot use vantage points and viewpoints without considering the larger issue of space.Artists throughout time have wrestled with the question: how does one represent three-dimensional space on a two-dimensional surface? By presenting different treatments of space, I showed how various artists have answered the question. Leonardo da Vinci solved the problem using linear perspective. Edgar Degas and Pierre Bonnard answered the question usingoriental space and unusual or multiple viewpoints. Paul Cezanne's solution was a new system of unified space.Contemporary artists provide other answers to the question of space. Rene Magritte used the illusionary devices of linear perspective to paint his surreal world. Philip Pearlstein returned to Degas' and Cezannes' concept of space to emphasize both the three-dimensionality of the figures and the twodimensionality of the picture plane. David Hockney found his solution in the multiple viewpoints of cubism.My creative project is my answer to the question. I integrated unusual vantage points, and multiple viewpoints to create ten paintings with unified space. I used some conventions of linear perspective to show depth. For example, sizes and details in my paintings diminish with distance. I then contradicted the three-dimensionality by using some conventions of oriental space that flatten the picture plane: oblique perspective, overlapping and positioning an object next to the front surface.<br>Department of Art
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Bivalacqua, Matthew J. "Picturing Things." ScholarWorks@UNO, 2019. https://scholarworks.uno.edu/td/2586.
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My creative process is a ritual I use to examine my personal narrative. Digital photography is a way for me to mine an object or environment with an obsessive emphasis, and extract an image that signifies something relatable. By employing tropes derived from my personal narrative, and filtering them through image manipulation software; I am able to dramatize aspects of perspective and scale. With an automatic mark guided by printed images and projections of digital panoramic images, the surface and resulting picture comes into focus. This is a way for me to move past my experiences. Achieving this level of intimacy with the mundane objects or environments makes it possible for me to develop a personal iconography.
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Maines, Lauren Ann. "The nature of realism /." Online version of thesis, 1988. http://hdl.handle.net/1850/11541.
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Cherry, Peter. "Still life and genre painting in Spain during the first half of the seventeenth century." Thesis, Courtauld Institute of Art (University of London), 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.309498.
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Labuschagne, Emily. "Masters, master, masturbate (a master's debate) - relooking at the home, body and self through seventeenth century Dutch still life painting." Master's thesis, Faculty of Humanities, 2020. http://hdl.handle.net/11427/32716.
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The still life genre has been, and arguably still is, regarded as the lowest form of painting in Western fine art history. The absence of the human figure in still life painting means that the artist does not require knowledge of either human anatomy or history for the production of the work. Given seventeenth century female painters' exclusion from the academies where anatomy was taught, it was thus a genre regarded as appropriate for female painters in Europe prior to the nineteenth century. Such dictates of propriety were indicative of gender constructs that relegated women to the private sphere of society and the domestic environment. As an accompaniment to my Masters in Fine Art exhibition titled Masters, Master, Masturbate (A master's debate), this text explores what still life painting may reveal about the relationship between the home, the body and the self in the present day. Produced from my position as a contemporary, white, female painter of Dutch descent raised within an Afrikaner culture in the context of South Africa, I suggest that a critical reconsideration of this apparently constrictive genre offers potentially liberating perspectives of gender constructs and the female painter.
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Boch, Elizabeth. "A Pawn’s Toil: Advocating for a Return to the Toybox." Ohio University Honors Tutorial College / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors153599598226024.
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Robins, Amanda School of Arts UNSW. "Slow art : meditative process in painting and drawing." Awarded by:University of New South Wales. School of Arts, 2006. http://handle.unsw.edu.au/1959.4/31214.
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This exegesis is an exploration of meditative process in painting and drawing and accompanies an exhibition of paintings and large drawings called What Lies Beneath. The text contains several passages, called "meditations," which accompany the themes approached in the chapters and give insight into the thoughts and practices of the artist. The methodology involves the examination of the evidence of the work produced by selected artists, looking at the words of artists in notebooks, diaries and interviews and surveying a small number of local contemporary artists. The text opens up the possibilities of drapery and garments and of still life as paths to meditative practice in painting and drawing. The qualities that characterize meditative process/practice, derived from my observations, are categorized. Some of the strengths of these processes are revealed through the examination of the work of artists, both contemporary and historical. The work of Vermeer, Sanchez Cotan, Francisco Zurbaran and contemporary artists Anne Judell, Simon Cooper, Jude Rae, Alison Watt and Eva Hesse highlight different aspects of the meditative process in painting and drawing. The art works in the exhibition are documented and bring out the meditative processes that have contributed to their creation, including the use and meaning of the subject (drapery and the garment as a form of still life).
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Porter, Cait. "To Find a Stairwell." VCU Scholars Compass, 2019. https://scholarscompass.vcu.edu/etd/5825.
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To Find a Stairwell is an exploration and written supplement to my painted works and how it relates to loss, depression, and compulsive tendencies. Through examples of my own paintings and the research and influences leading my education is an articulate web chronicling two years of work from a focus in abstract painting to a place where representation and abstraction intersect.
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Fegert, Elke. "Alexander Kanoldt und das Stillleben der Neuen Sachlichkeit /." Hamburg : Kovač, 2008. http://d-nb.info/989695808/04.
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Filippa, Kenne. "Breakfast-Piece by Nicolaes Gillis : A comparative study of material perspectives." Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-182721.
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Ruddock, Joanna Mavis. "Dutch artists in England : examining the cultural interchange between England and the Netherlands in 'low' art in the seventeenth century." Thesis, University of Plymouth, 2017. http://hdl.handle.net/10026.1/8632.
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The seventeenth century was an incredibly fascinating time for art in England developmentally, especially because most of the artists that were receiving the commissions from English patrons and creating the art weren’t English, they were Dutch. Over this one hundred year period scores of Dutch artists migrated over from the Dutch Republic and showed England this Golden Age of painting that had established Dutch artists back in the Netherlands as pioneers in their line of work. In studies of Anglo-Dutch art, portraiture is a genre that has been widely researched; Peter Lely (a Dutch-born portraitist) is one of many widely acclaimed artists of this genre; comparative to many of the artworks and artists chosen for this research. Generally Anglo-Dutch relations, politically, economically, religiously and of course culturally there was, during the seventeenth century, so much going on between these two nations. Did this intense ever-changing relationship have an impact on that the other ‘low’ genres of art that was produced throughout this century? This research involves understanding and thinking about the impact of the cultural exchange that took place between England and the Netherlands in the seventeenth century on ‘low’ art – marine, landscape and still life painting. This research entails thinking about the origins of these genres as well as looking at individual paintings on a detailed basis and understanding how this cultural interchange manifests and translates itself through visual motifs – objects (large and small), stylistic characteristics and theme of the painting. Various themes and interpretations - in particular iconography and iconology, descriptive versus narrative art and national identity - have been explored and considered in order to gain a comprehensive understanding of the literature that already exists for this art in an effort to consider something new but to also interpret the paintings in a different way – this research has considered these paintings through the visual elements and has explained the cultural significance they provide.
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Martiníková, Zuzana. "Nepříliš známý malíř." Master's thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2014. http://www.nusl.cz/ntk/nusl-232411.
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Master's thesis called Not too well-known painter reacts on art of regional painter Jaromír Martiník. It is an exhibition of the work of this painter. Thanks to the intervention of author of this exhibition brings up his work into unusual context of artist from Beskydy, who is influenced by oriental philosophy.
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Nocera, Lígia Beatriz Muller. "Tacitus: uma coleção particular de coisas inanimadas." Programa de Pós-Graduação em Artes visuais da UFBA, 2011. http://www.repositorio.ufba.br/ri/handle/ri/9861.
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Previous issue date: 2011<br>Esta dissertação detalha as etapas do processo criativo para a concepção de um painel modular de uma Coleção de pinturas figurativas de objetos singulares, constituído por 72 telas de 40 X 40 cm cada, apresentado no Museu de Arte Contemporânea do Paraná, em 2011. As seguintes ações processuais delinearam a pesquisa: uma coleta fotográfica de objetos de escolha pessoal e, ou, pertencentes a diversos indivíduos, nas cidades de Curitiba, no Paraná e de Salvador, na Bahia, acompanhada pelos depoimentos dos participantes, registrados em fichas individuais. A seguir, os objetos fotografados tornaram-se os modelos para as 72 pinturas das „coisas inanimadas‟, em referência ao gênero denominado Natureza Morta. O processo que reuniu objetos / sujeitos / interações/ pesquisadora encontra-se aqui circundado pela poética de Gaston Bachelard, apoiado nos conceitos da semiologia dos objetos a partir de Jean Baudrillard, da crítica do design, em Deyan Sudjic e observa as considerações de Gilles Lipovetsky a respeito das culturas da moda e do consumo. Georges Perec e Walter Benjamin foram buscados para assegurar os respectivos respaldos, literário e conceitual, dos significados de „coleção‟, entre abordagens igualmente verificadas junto a outros autores complementares para, metodologicamente organizar as bases das discussões teóricas relativas aos tensionamentos plásticos propostos. Ao abrir as portas para sair da intimidade de um atelier e percorrer outros territórios e lugares, os objetos encontrados revelaram-se não apenas modelos para pintura, mas matérias mediadoras da persistência do tempo que separa os homens das suas coisas ou que, por alguns breves instantes, os une.<br>Salvador
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Andersson, Louise. "Ylva Oglands socialrealism : Att göra det osynliga synligt." Thesis, Södertörn University College, The School of Culture and Communication, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-445.
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<p>The purpose of this paper is to analyse how work by Swedish artist Ylva Ogland (born in 1974) function as an eye-opener for the social marginalisation of people identified with homosexuality, prostitution and drug addiction. Although highly present in reality, these phenomena were historically, and are still today, hidden from view in public discourse. I have focused on the installations Rapture and Silence and Things Seen, and the still-life painting called Xenia. I argue that these artworks carefully represent the above-mentioned marginalised groups, by way of references to comparable motives in the history of art, from neoclassicism in France, to realism and romanticism.</p>
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Pellegrin, Ricardo de. "OBJETOS MEDIADOS: PINTURAS MESTIÇAS." Universidade Federal de Santa Maria, 2013. http://repositorio.ufsm.br/handle/1/5213.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior<br>The present research on Visual Poetics was developed between 2011 and 2013 as an investigation that was established by the
combination of artistic practices and theoretical reflections, whose results reflect upon poetic strategies adopted by the conception
and realization of those works. The proposal is based on contemporary issues that deal with the representation of objects in
painting (still life) through the use of technical image, pictorial process that relates the concept of miscegenation. It was identified in
those poetic strategies that the questions moved from the objects to the noise through mediated technique (optic) of the model. The
confrontation between practice of studio and the data collected, visual and conceptual, intend to revitalize painting, permeating
manual work with the perception from the mediated technique in order to demonstrate a view that makes connection with the issues
from contemporaneity.
Keywords: Painting, Mediation Technique, Still life, Optics, Noise<br>A presente pesquisa em Poéticas Visuais foi desenvolvida entre 2011 e 2013, como uma investigação que se estabeleceu na
conjugação da prática artística a uma reflexão teórica, cujo resultado aborda as estratégias poéticas adotadas na concepção e
realização desses trabalhos. A proposta instaura-se nas problemáticas contemporâneas da representação de objetos na pintura (natureza-morta) através do emprego da imagem técnica, processo pictórico relacionado ao conceito de mestiçagem. Identificadas nas estratégias poéticas as questões deslocaram-se dos objetos para o ruído gerado pela mediação técnica (óptica) do modelo. O confronto entre a prática de ateliê e os dados coletados, visuais e conceituais, pretende revitalizar a pintura, permeando este fazer manual com a percepção adquirida da mediação técnica, a fim de gerar uma visualidade que dialogue com as questões eminentes da contemporaneidade.
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Litwinowicz, Michel. "Rome et Naples, deux écoles de nature morte au XVIIe siècle et leurs échanges." Thesis, Paris Sciences et Lettres (ComUE), 2017. http://www.theses.fr/2017PSLEP034/document.
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L’école romaine et l’école napolitaine de nature morte comptent au XVIIe siècle parmi les plus importantes dans la peinture européenne. Pendant tout le Seicento, elles sont restées étroitement liées, en multipliant les tableaux de fleurs, fruits, légumes, poissons, gibiers, sous-bois.... La thèse étudie l’évolution de ce genre à Rome et à Naples et les resitue dans le vaste tissu des échanges culturels et stylistiques entre ces deux capitales. Elle analyse la place de la nature morte dans le marché de l’art (circulation, marchands, prix, estimations) et dans les collections. Le goût de mécènes variés pour ces tableaux est étudié. Des comparaisons formelles entre les œuvres de différents peintres, comme Mario dei Fiori et Paolo Porpora, Michelangelo Cerquozzi et Giovanni Battista Ruoppolo ou Giovanni Battista Recco et Gian Domenico Valentino sont effectuées. On explique également le rôle d’Abraham Brueghel, Andrea Bonanni, Alessandro dei Pesci, et Andrea Belvedere<br>The Roman and the Neapolitan school of still-life painting are in 17th Century among the most important in Europe. During the whole Seicento, these two schools are closely tied and produced a large amount of paintings of flowers, fruits, vegetables, fishes, game, woodland Scenes (sottoboschi)… This PhD analyses the evolution of still-life painting in Rome and in Naples and places it in the numerous stylistic and cultural exchanges between these two capitals. The place of still-life painting in the art market (circulation of works, merchants, prices, appraisals) and in the collections is studied. The Patrons’ taste for these pictures is examined. We carry out stylistics comparisons between works by Mario dei Fiori and Paolo Porpora, Michelangelo Cerquozzi and Giovanni Battista Ruoppolo or Giovanni Battista Recco and Gian Domenico Valentino. We also investigate the role of Abraham Brueghel, Andrea Bonanni, Alessandro dei Pesci and Andrea Belvedere
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Behrens, Monika Art College of Fine Arts UNSW. "Silent bang." Publisher:University of New South Wales. Art, 2007. http://handle.unsw.edu.au/1959.4/42557.
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The research project uses still life as a means of exploring current events of violence and oppression. These events are represented through juxtaposing plastic toys with organic objects. The toys include a range of popular generic toys such as army men, cowboys and Indians and toy soldiers. The organic objects were selected for their relationship to the specific event being represented. The toys and organic objects were positioned to create interesting and logical compositions. Themes of the series include opposing objects and ideas pitched against each other such as plastic/organic, perpetrator/victim, violence/peacefulness and destruction/sustenance. Within each work the plastic toys take on the demeanor of the tyrant(s), whereas the organic objects adopt the role of the victim(s). The research project uses these themes to convey the message that violence is both a barbaric way of dealing with conflict and a senseless form of self-expression. I have used symbols and metaphors to build a visual language. For the language to be translated accurately a great deal of research has taken place into the appropriate still life objects for each work. Each work incorporates metaphors and or symbols for both the oppressor and victim within the event being represented. The studio outcome of this research project, Silent Bang, includes a series of highly detailed finished paintings of various scales. Silent Bang as a body of work is colourful and aims to be aesthetically pleasing in addition to conveying a powerful message that incites interpretation.
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Frederick, Jason. "Painterly struggle conflict and resolution within Raphaelle Peale's still life paintings /." [Gainesville, Fla.] : University of Florida, 2006. http://purl.fcla.edu/fcla/etd/UFE0014220.
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Kubátová, Veronika. "Domov jako místo rituálů / Nevstupovat prosím! / Zóna domova." Master's thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2019. http://www.nusl.cz/ntk/nusl-396093.
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I have been dealing with the themes of prefabricated houses and housing estates until recently. I was especially interested in their aesthetics. Order, grid and certain regularity and repeatability. At the same time, I was always interested in his social connotations, mainly because I live in these places. Gradually I became more interested in topics related to my own home. So I moved from the general themes to my own experience. But what is my home? Home is a place of utmost importance in our society. Home is made up of people, family. People have it associated with many rituals that accompany their lives often without actually being considered for them. Thanks to these rituals, we manage, among other things, the everyday influx of positive and negative influences of the surroundings and deal with them in various ways. Morning coffee, brushing your teeth, lighting a candle, wiping dust, filling a bath, scattering water on flowers, etc. Balance is the key to everything we do. And I would like to analyze, document and process these home and personal rituals in this work. The final thesis will consist of a free series of paintings with possible interventions and overlaps into video or installation, etc.
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Salvi, Claudia. "Jean-Baptiste Monnoyer (Lille 1636 – Londres 1699) : peindre des fleurs et des fruits à l’âge classique." Thesis, Aix-Marseille, 2016. http://www.theses.fr/2016AIXM3068.
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A partir de l'élaboration du catalogue de son oeuvre (tableaux de chevalet et peintures décoratives), cette thèse étudie et ré-évalue la place de Jean-Baptiste Monnoyer dans la France du Grand Siècle. L'étude des oeuvres de ses collaborateurs et contemporains permet de préciser l'originalité de sa personnalité artistique et de définir sa place dans le développement de la peinture de nature morte en France au XVIIe siècle. Né à Lille, Monnoyer arrive tôt à Paris, où il ajoute à son expérience de la nature morte nordique l'influence des peintres français de la vie silencieuse. Il inscrit aussi son nom dans le siècle de Louis XIV comme peintre décorateur, effectuant les premiers décors des résidences de jeunesse du monarque (Saint-Germain-en-Laye, Vincennes, les Tuileries). Il y donne ses lettres de noblesse au motif de la guirlande tressant la gloire du prince.Comme collaborateur de Le Brun, il travaille dans des chantiers privés (Hôtel Lambert, château de Vaux), ou des châteaux de ministre du roi (Sceaux). Il part encore travailler en Angleterre à la fin du siècle. L’abondance des commandes royales l'oblige à s’entourer d’assistants. Les enjeux artistiques de cette production sont enfin analysés : la position du genre de la nature morte dans la doctrine officielle de l’Académie et sa reconnaissance dans les collections privées ; le statut du peintre de nature morte dans la génération des classiques, de Félibien à Perrault. Enfin, le rôle fondamental de Monnoyer dans le développement et la diffusion de ce genre est étudié<br>Having compiled the entire work catalogue of Jean-Baptiste Monnoyer (easel paintings and decorations), this thesis aims to study and re-value his importance in France during the Grand Siècle.Through the study of works of his collaborators and contemporaries the uniqueness of his artistic personality is specified, as well as his position in the development of still life painting in France during the 17th century.Born in Lille, Monnoyer came early to Paris, where he joins his knowledge of Nordic still life painting to the influence of French « silent life » painters.His name is famous too during the century of Louis XIV as a painter decorator. As such, he made the first decorations for the youth residences of the monarch (Saint-Germain-en-Laye, Vincennes, the Tuileries). He there develops the importance of the pattern of the garland glorifying the prince.As a collaborator of Le Brun, he works in private worksites (Hôtel Lambert, château de Vaux), or in castles of ministers (Sceaux). He also works in England at the end of the century. Due to the great amount of royal orders, he was forced to gather assistants. The artistic issues of this production are analysed: the situation of the still life genre in the official doctrine of the Academy, and his recognition in private collections ; the position of the still life painter in the classical generation, from Felibien to Perrault. And then, the fondamental part of Monnoyer in the development and the rayonnment of this genre is studied
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Cochrane, Peter. "The Wild Beasts." VCU Scholars Compass, 2019. https://scholarscompass.vcu.edu/etd/5917.
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The Wild Beasts springs from my desire to thank my ever-expanding queer chosen family and mentors for their strength. Working through the often violent and othering aspects of the lens and photographic histories I create floral portraits responding to each person’s being and our relationship. Using the 19th century, 8x10 large format view camera—the same used by colonialists and ethnographers to “capture” the divinity of Nature—I erect each as a traditional still life studio setup at the threshold between the natural world and that constructed by humans. These environments speak both to the character of each friend and also to the use of Nature against queer people in most legal systems across the planet. We are deemed unnatural and made criminals through inequitable semantics. The 8x10 negative becomes a portrait, a darkroom contact print that is gifted to each of The Wild Beasts, an intimate artifact of my gratitude. At these borders I lash at the histories of oppression, remaking these lineages and tools into spaces for empathy, tenderness, and love.
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Pring, Debra. "The negotiation of meaning of the musical vanitas and still-life paintings of Edwaert Collier, c. 1640-1709." Thesis, University of London, 2010. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.567928.
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Yi-WenHsu and 徐浥文. "The reproduction of Heda's still-life painting." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/14527463658832206651.
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碩士<br>國立成功大學<br>藝術研究所<br>101<br>Willem Claesz. Heda(1593/94-1680/82) is an important Haarlem still-life painter, who depicts 'Monochrome' still-life pieces in the Seventeenth century. Images which Heda depicts are related to the environment of the age. In the economical aspect, the objects concerned with the native production, the commodities from elsewhere in Europe, and the commodities from East and West India Company. In the religious aspect, because of the Reformation, paintings represent the spiritual content of Protestantism with the function of moral admonition. In the custom, still-life painting are connected to everyday life, like genre painting, which reproduces realism and seeming realism.
The oeuvre of Heda in according with the style could be divided into three portions─the early stage about 1625-1633, the mid stage about 1634-1638, and the later stage about 1640-1665.And in according with the subject matters it could be divided as 'The Vanitas', 'The Breakfast pieces', and 'The Banquet pieces'. The artist represents the true life and at the same time integrate the warning message. Through the analysis of Heda's 60 works, we can observe that the three styles and the three subject matters are interweaved with the characteristic of repetition through the composition of form. While the repetition are also applied to the interpretation of content by using of realistic technique, monochrome depiction, and individual composition. The paintings show the concept of vanity with the moral warning and the spiritual permanent.
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Jersky, Michelle. "Meaning in Cezanne's still-life paintings." Thesis, 1992. https://hdl.handle.net/10539/25662.
Full textAbstract:
A Dissertation Submitted to the Faculty of Arts,
University of the Witwatersrand, Johannesburg, for the
Degree of Master of Arts.<br>This dissertation examines Paul Cezanne's still-lifes and proposes
that the interpretation of meaning in these works depends upon the
analysis of their stylistic elements.
In Chapter 1 it is argued that the relationship between meaning and
interpretation in the discipline of Art History is a complex one. An
examination of the recent theoretical literature offers valuable
insights into the ways in which art historians have assessed this
relationship and the ramifications not only for the discipline, but for
the Interpretation of Cezanne's still-lifes.
The different ways in which scholars have interpreted Cezanne's
oeuvre (particularly in relation to formalist approaches) are
examined in the overview of the Cezanne literature in Chapter II. It
is suggested that the existing body of interpretations in the
literature forms an important part of a work's meaning and that
therefore, the meaning of Cezanne's still-lifes should not be
considered in an historical vacuum. furthermore, it is argued that
the formalist interpretation of Cezanne's still-lifes warrants reevaluation,
In Chapter III selected still-lifes are analyzed. The traditional art:
historical dichotomy, reflected in the Cezanne literature, between
'form' and 'content', is challenged, The genre of still-life is
contextualized in relation to Cezanne's other genres to substantiate
the notion of a 'drama of style' evident in the still-lifes. It is argued
that a stylistic approach to the still-lifes reveals both the importance
of style in the interpretation of meaning in the still-lifes and the
notion of artistic process evident in these works.<br>Andrew Chakane 2018
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Farber, Leora Naomi. "Opticality and tactility in selected South African still-life painting." Thesis, 1992. http://hdl.handle.net/10539/23004.
Full textAbstract:
A dissertation submitted to the Faculty of Arts, University of the Witwatersrand, Johannesburg, in partial fulfilment of the requirements for the degree of Master of Arts in fine Arts
Johannesburg 1992<br>This research examines some ways in which source material is interpreted in still life painting.
These interpretations will be explored from two positions in painting.
For my purposes, these positions will be termed opticality and
tactility. [Abbreviated Abstract. Open document to view full version][<br>MT2017
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王皓諄. "Painting Research in Contemporart Material Culture and the Still Life Image." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/cakv7u.
Full textAbstract:
碩士<br>國立臺灣師範大學<br>美術學系<br>100<br>In the primitive society human beings can exchange the materialls they need, by way of bartering. For example, a sheep is exchanged for a stone ax. But sometimes because of the restriction of categories of the exchanged materials that both sides can accept have to be sought out. Since then the most original currency begins, such as livestock, salt, rare shells, rare birds’ feathers, precious stones, alluvial gold, stones and so on. Those are not easy to get in large quantity and they have all been used as currencies in ancient times. In the modern society, “material "is transformed into an important element in our world. It makes us have some social contact with others, which affects the value of our actions and life. The materials provide us more concrete and longer lasting way to share value activities and lifestyles than language and direct interaction.
In the modern time, currency has promoted the prosperity of the business transaction and has contributed to our civilized society. It provides us not only wealth and enjoyment but also a better quality of life. It even brings the rich incredible power that it is beyond our imagination. Therefore, the currency has gone beyond its monetary value, and people want to obtain it and keep obsessed continuously.
The pieces of art work is to explore the role of monetary symbols in the contemporary and materialized world, and investigate the significance of still images presented on the screen. Through the objects created in the culture of the consumption society, such as coins, paper money, paper bag etc. The painter tries to interpret people’s confusion, restlessness and anxiety within the construction of money under the Capitalism of the postmodernism.
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Paul, Tanya. ""Beschildert met een Glans" : Willem van Aelst and artistic self-consciousness in seventeenth-century Dutch still life painting /." 2008. http://wwwlib.umi.com/dissertations/fullcit/3312159.
Full text
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Yu, Sheng-Ruei, and 余昇叡. "Chess Piece Metaphors and Illumination: A Study of the Creative Process in Still Life Oil Painting By Yu, Sheng-Reui." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/8kcfuk.
Full textAbstract:
碩士<br>國立臺灣師範大學<br>美術學系<br>106<br>Abstract
This study is based on my personal life experience, creative style and year-long study of oil painting materials and techniques of realism.Using expressive still lifes as the subject matter of expression, I attempt to find my work’s standing in the sequence of Western art history.
A novelist recreates his inner fantastic stories through words and turns real life scenarios into an experience of beauty. I, on the other hand, lure viewers into my inner world through strokes from my brushes and preserve life as stills in my painting.
In Chapter 1: Purpose of Study and Motivation, the reasoning behind using chess pieces as symbols is explored through personal life experiences and my background growing up. The review of literature is the focus of Chapter 2: The Subject Matter and Signification of Western Still Lifes. The role of still life in the history of art is clarified through still lifes from the Netherlands in the 17th century. The value of this study of the creative process slowly manifests as the topics of trompe l'oeil and “painter presence” in still-life paintings are discussed.
Chapter 3 explains the ideal behind the “study of illumination” series and seeks to find mental belongingness through the visual sensation evoked and scholarly thinking involved in every individual work.For me, art is the source of creation, and the contradiction between the fleetingness of life and eternity of time turns painting into a power force that motivates self-elevation and shines through the hardships of life.
Chapter 4 delves into the study of oil painting materials and thoroughly depicts details of the creative process, sharing my techniques to study oil painting materials through publication of this thesis.
Chapter 5 summarizes the academic basis, analysis of literature, ideals of finding one’s standing through one’s work and breaking down techniques of utilizing oil painting materials in the aforementioned 4 chapters, and concludes the whole thesis.
Art is a means for painters to express themselves, create or imitate reality, but it alsoreflects the instinct to play and is a reflection of inner life. Through sincere self-examination, observation, meditation and reflection, I hope that my future works will expand its creative diversity and discover the common life value of human beings.Then perhaps one day,I could establish myself as a contributor to the still-life genre and leave a mark in the long vast history of art.
Keywords: Light, Chess, Still Lifes, Trompe l’oeil
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Kao, Wen-Hsuan, and 高文萱. "Re-evaluating the position and influence of Chardin's still life in the tradition of French painting by investigating Diderot's Salons criticism." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/23110105161758359168.
Full textAbstract:
碩士<br>國立中央大學<br>藝術學研究所<br>93<br>Among numerous painters in eighteenth century France, Chardin is Undoubtedly an unique figure. There are some contradictions between his status in Academy, his several shifts on the choices of subject matter during his career, the way by which critics at that time assessed his painting and his position in French tradition of painting which is still under construction by art historians. However, it is those contradictions of different contexts mentioned above evoke the initial curiosity of this thesis. Therefore, the main effort of this thesis is try to find out a kind of coherence explainable for the nature of Chardin’s art and to resolve the complicated contradictions just mentioned.
For this reason, this thesis tries to re-evaluate the still life of Chardin by analyzing the art criticisms in eighteenth century. Among those critics, via the discussion of commentators of nineteenth century and art historians of twentieth century, Diderot’s criticisms are adopted as not only the important sources for understanding the art of Chardin but also the materials for constructing his historical position. Thus, this thesis aims to re-interpret Diderot’s criticism in order to re-discover the quality of Chardin’s works and to re-place his art. Meanwhile, by doing so, the main concern of this study is transferred from the direct discussion of Chardin’s painting surface to analyze the specific relationship between the artistic form and the audience. This thesis attempts to investigate in which way Chardin’s art has been accepted and interpreted at his time on one hand, and indicate how the critical language which responds to Chardin’s artistic style has been developed by audience of eighteenth century on the other.
Diderot’s position to Chardin’s art drawing from criticism can be considered in two way: trompe-l’oeil and the technicity of painting. As to the former, because of the influence from empiricism, Diderot legitimatised and raised the status of illusion, which used to be devaluated in the classical theory of Academy, and then developed a new kind of visual experience of looking at his still life. However, this new looking experience corresponds to his discovery of the technicity from Chardin’s works. In this context, Diderot’s viewpoint shifts from art as a natural replica or transparent illusion, to art as representation. During this process, the object of aesthetic activity expands and transfers to the inherent qualities of painting and the manual aspect of artistic practice. Moreover, Diderot also detects the intuitive looking pattern and critical rhetoric appropriate to his experience.
Finally, this study retraces Diderot’s criticism, the quality of Chardin’s painting, the looking pattern which corresponds his criticism back to the French cultural tradition and find out that there are precedents which possess similar qualities and can be regarded as examples opposite to Italian tradition. Therefore, it reveals the relativity of French painting tradition to the other traditions it inherits—the Italian and the Flemish tradition for example. On the spectrum of art history, if the Italian tradition presents those related to discourse, such as reason, mind, spirit and lines etc, then, their oppositions are those excluded from discourse, such as sensation, sense, material and color etc. Since the art of Chardin and Rococo both demonstrate the artistic pattern and looking relationship related to the latter, they belongs to the French tradition which is opposite to Italian tradition. Hence, Chardin inherits the aesthetic qualities of Rococo on one hand, he also takes nature as an object of observation, and translates his visual experience to two-dimensional plane on the other. That’s the reason that Chardin’s art plays a crucial role in the historical development of French painting.
J.B.S Chardin, Denis Diderot, Still life, Art criticism, Salons, Tradition of French painting
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Jian, Yi-Chi, and 簡義棋. "Still life paintings realist techniques to explore." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/72371274711001601938.
Full textAbstract:
碩士<br>中國文化大學<br>美術學系<br>104<br>“Realism" contains two implications: First, it refers to a basic creation method involved literary and art, to describe and reflect the living things around according to its original way; second, it means the literary trends of the 19th century. However, traditional realism emphasizes the creation by the author's own subjective feelings. As for "Surrealism", it is a school of art caused by today's cultural environment. I especially take the example of “The purpose of the history of art is to clarify the origin, development, evolution and decline of the art, and explain the different styles of individual people, individual ages, and individual artists,” emphasized in History of the Art of Antiquity, published in 1764, written by Johann Joachim Winckelmann (1711~1768), a German art historian in Enlightenment Movement; That is, by the creator’s personal life to engage in creative research, and then express the micro observation of inner self on the environment. In short, it is so-called life creates art, and art reflects life. In this thesis, the author not only uses realistic approach to objectively describe and interpret the vocabulary of "micro theme", but also uses the styles of "Minimalism", and "Pop Art" to describe the same, escaping the established composition pattern of traditional and realistic picture. In addition, I also transform the picture space into the geometric field of abstract symbol, so that the picture presents a more personal and unique style with artistic value, in order to express the perception, understanding and experience of life from my heart. The author’s self-creation research takes “Gaze” series to interpret all contexts; however, “art” is natural copy or “reproduction”. Therefore, the invention of photography also contributes to painting creation in contemporary art history; moreover, photographic realism is the visual "real" image under the influence of science and technology, causing today’s photorealism already unlike nostalgic feelings emphasized by conventional local realism style, but a gradually truth-seeking transformation, that is, from original external realization which is loyal to individual perception of physics or society, into a loyal to materials or strong personal subjective feelings or imagination. However, what this painting concept implied the art intending to present is focus on individual perception of art.
Through the combination of life experiences and personal preferences - planting, I develop the art micro theme "gaze" series, the micro theme of art creation, and both are so called to find the inherent nature of the object through creative, even to express my creative thinking. However, I am deeply influenced by the styles of French painter, the still life painting master: Jean Baptiste Simeon Chardin (1699 ~ 1779), and Chilean artists Claudio Bravo (1936-2011) and (Henk Helmantel (1945-) respectively. These masters of painting are good at finding beautiful things and expressing beauty in the ordinary, with very fine observation and pious creative attitude, tremendously depicting everything of daily life; the plain still they depicted is just an ordinary, quiet life image. Thus, this time my creation also with a simple, pure spirit of painting, adds the emotional self-expression to give the painting a new appearance. This kind of creative style, not only constructs flattened pictorial space management, but also changes contemporary neon colors, so that the picture shows a more unique appearance and myself own artistic value.
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CHEN, MEI-YIN, and 陳美吟. "Study on the Floral Symbols in Still-Life Paintings." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/pqax35.
Full textAbstract:
碩士<br>國立高雄師範大學<br>美術學系<br>107<br>This paper mainly takes flowers in still-life paintings as the research object, and takes the symbolic meaning conveyed by flowers in painting as the focus of discussion. This paper mainly uses semiotic theories to analyze the floral symbols in still-life paintings.
After a series of study on the still-life paintings about the floral symbols, the main results and feedbacks of this study can be summarized as follows:
1. The common floral symbols among the still-life paintings include a great variety of special floral symbolic themes. Among them, flowers with bright color, special design and easy identification are most often selected and used by artists, and they appear among the theme graphics of paintings, or function as auxiliary images to create the theme meaning.
2. According to Saussure's theory of signs, the floral symbol has the two characteristics such as signifier and signified. As for the signifier of the image theme, it covers visual symbols with positive meanings such as obvious love and happiness; as for signified, it mainly expresses the contents thematically about “beautiful visual painting,” “happy emotions and communication of warm life,” “weaving of romantic love world,” and “the writing of artist's inner world.”
3. According to Saussure’s two-axis theoretical analysis of the composition of relations, the same image type of associative symbol groups with universal and obvious significance becomes the symbolic selection more easily. The theme and significance of a work will influence the selection of the genealogy of symbols, which determines the expressions of the work and the significance conveyed. In the process of artistic creation, due to the need of the communicative intentions of the sign, different types of image symbols will be used in the meantime, and the genealogy of symbols coexists and influences each other simultaneously.
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Ferrero, Sebastian. "Representación de la naturaleza y el espacio en la pintura andina de los siglos XVII y XVIII." Thèse, 2016. http://hdl.handle.net/1866/18466.
Full textAbstract:
Pour respecter les droits d’auteur, la version électronique de cette thèse a été dépouillée des documents visuels. La version intégrale de la thèse a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal.<br>Pendant la période coloniale, le grand sujet de la nature fut différemment instrumentalisé selon les intérêts particuliers des secteurs distincts de la société coloniale péruvienne. Fondamentale comme outil d'évangélisation, mais surtout comme espace de canalisation de la religiosité et de la spiritualité coloniale, la nature a su se manifester de manière diverse dans la production artistique de la vice-royauté du Pérou.
Dans cette thèse, nous nous penchons sur le phénomène de la représentation de la nature dans la peinture andine coloniale, en nous concentrant en particulier sur la région occupée actuellement par le Pérou et la Bolivie, et sur une périodisation qui comprend principalement les XVIIe et XVIIIe siècles. Ce travail cherche à approfondir une problématique qui a été majoritairement oubliée ou sous-estimée par le discours critique de l’histoire de l’art de la période coloniale.
Nous aborderons cette problématique à partir de différentes perspectives. Cependant, l'aspect religieux semble l’élément fondamental pour expliquer les principaux enjeux derrière ce geste pictural. La peinture de la nature et de l'espace fut représentative des valeurs et des fondements spirituels de la religiosité coloniale. Les andins ont pensé la nature comme un moyen de visualiser des expériences métaphysiques profondes, de repenser les identités religieuses et d’accorder aux images des pouvoirs magico-religieux qui s’avéraient essentiels pour le bien-être de différentes communautés.
Bien que l’étude des rapports religieux soit indispensable pour élucider cette structure symbolique complexe, tant pour la peinture de paysage (comme unité organique), que pour la représentation des éléments individuels, la représentation de la nature a révélé, dans bien d'autres cas, des préoccupations concrètes directement liées aux circonstances, autant politique qu’ historique, de la société coloniale, en s’adaptant aux changements constants d’un espace et d’une société en transformation.
Loin d'être uniquement soumis à l'exercice décoratif, ou dans le cas de la peinture religieuse, de remplir la fonction de contexte pictural, les peintres coloniaux ont valorisé cet élément en l'abordant comme un objet individuel, chargé de pouvoir symbolique et capable de transmettre des messages et de produire des discours, toujours en lien avec les préoccupations des différents secteurs de la société coloniale.<br>In the colonial period, the great subject matter of nature was instrumentalized by different sectors of Peruvian vice regal society. Essentially as an evangelization tool, but also as a space where colonial religiosity was manifested, the representation of nature was interpreted in different ways by artists and consumers of vice regal paintings.
In this dissertation, we analyze the representation of nature in colonial Andean painting, focusing especially on the Central Andean region (currently covered by Peru and Bolivia) in the seventeenth and eighteenth centuries. This work seeks to move forward on an issue that has been largely underestimated by critical discourse of art history regarding the Latin American colonial period.
We will discuss this problem from different perspectives. However, the religious aspect seems to be above all a fundamental element to explain the key issues behind this pictorial manner. The representation of nature was consistent with spiritual values that forged colonial religiosity. Andean people considered nature as a way to visualize deep metaphysical experiences by rethinking religious identities and granting to the images magical-religious powers essential for the well-being of communities.
Beyond the religious aspect, we focus on the analysis of other consequences and interests that are related to the different forms of representation of territories and elements of nature, allowing different social groups to assert their ideological, political and cultural positions.
The representation of nature and space in colonial painting was never a simple decorative object, nor, in the case of religious painting, did it fulfil the role of scenographic framework and background to pictorial stories. The colonial painters treated this element with particular concern, conceding it special value and narrative powers, according to different preoccupations in colonial society.
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zhu, cui. "Symbolique florale dans le tableau de Jean-Baptiste Belin de Fontenay Vase d’or, fleurs et buste de Louis XIV (1687)." Thèse, 2012. http://hdl.handle.net/1866/8412.
Full textAbstract:
Le tableau de Jean-Baptiste Belin de Fontenay intitulé Vase d’or, fleurs et buste de Louis XIV est le morceau de réception que le peintre a présenté à l’Académie royale de peinture et de sculpture en 1687.
Malheureusement peu étudié, ce tableau n’en comporte pas moins trois problématiques très intéressantes. Tout d’abord, il rassemble trois genres de peinture dans une seule composition : la nature morte, le portrait et la peinture d’histoire, illustrés respectivement par les fleurs, le buste du roi et la pièce d’armure. L’association de ces trois genres dans un tableau de nature morte est peu commune dans la peinture française du 17e siècle. Il est donc nécessaire de vérifier s’il existe un lien entre les fleurs, l’image de Louis XIV et l’armure. Ensuite, le contraste entre la polychromie des fleurs et la monochromie de la sculpture et de l’ameublement est frappante ; il est possible de lier ce contraste au phénomène des débats entre le dessin et la couleur de l’Académie royale de peinture et de sculpture à la deuxième moitié du 17e siècle. D’ailleurs, les fleurs, qui n’étaient pas le sujet central dans le programme original de Le Brun, deviennent le sujet principal du tableau et occupent une place plus importante que le buste de Louis XIV. Cette modification n’a cependant pas choqué les juges de l’Académie puisque la toile a été acceptée sans contestation. Elle amène donc à s’interroger sur la hiérarchie des genres de peinture qui est la doctrine officielle de l’Académie royale de peinture et de sculpture de l’époque.
Le noyau de la recherche consiste à vérifier si les fleurs n’occupent qu’une simple fonction décorative ou si elles peuvent être associées à des symboles. Notre recherche examine d’abord l’utilisation des symboles floraux dans la culture française du 17e siècle. Par la suite, elle étudie cette utilisation dans le domaine politique, à savoir que les fleurs pourraient être liées à la louange de Louis XIV. Enfin, elle analyse les domaines artistiques et esthétiques, c’est-à-dire la façon dont le tableau reflète, par l’utilisation des symboles floraux, l’évolution des théories de l’art, la hiérarchie des genres de peinture et les débats du dessin et de la couleur, en France, durant la deuxième moitié du 17e siècle.<br>The painting by Jean-Baptiste Belin de Fontenay, Vase d’or, fleurs et buste de Louis XIV, is a reception piece of the french academician painter to the Académie royale de peinture et de sculpture in 1687.
Unfortunately having been little studied, this painting reveals three very interesting issues. First of all, it contain three kind of painting in one composition: still life, portrait and history painting, illustrated respectively by the flowers, the bust of Louis XIV and the piece of armor. The combination of these three types in a still life is uncommon in the 17th century French painting. It is therefore necessary to check if there is a link between the flowers, the picture of Louis XIV and the armor. Then, the contrast between the polychrome of the flowers and the monochrome of the sculpture and furniture is striking, it is possible to associate this contrast to the phenomenon of the debates between drawing and color of the Académie royale de peinture et de sculpture during the second half of the 17th century. Moreover, the flowers, which were not the central subject in the original program of Le Brun, become the main subject of the table and occupy a more important place than the bust of Louis XIV. This change has not shocked the judges of the Academy since the painting was accepted without question. It therefore leads to think about the hierarchy of genres of painting, which was the official doctrine of the Académie royale de peinture et de sculpture at the time.
The core of this research is to see if the flowers occupy a mere decorative function, or whether they may be associated with symbols. Our research will verify the employ of floral symbols in French culture of the 17th century and then developed this employ not only in the political field, which means the flowers are in praise of Louis XIV, but also in the aesthetics domain, that is to say how the painting reflects by employing floral symbols the evolution of the theories of art in France during the second half of the 17th century, the hierarchy of genres of painting and the debates between drawing and color.
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Zhu, Cui. "Symbolique florale dans le tableau de Jean-Baptiste Belin de Fontenay Vase d’or, fleurs et buste de Louis XIV (1687)." Thèse, 2012. http://hdl.handle.net/1866/8412.
Full textAbstract:
Le tableau de Jean-Baptiste Belin de Fontenay intitulé Vase d’or, fleurs et buste de Louis XIV est le morceau de réception que le peintre a présenté à l’Académie royale de peinture et de sculpture en 1687.
Malheureusement peu étudié, ce tableau n’en comporte pas moins trois problématiques très intéressantes. Tout d’abord, il rassemble trois genres de peinture dans une seule composition : la nature morte, le portrait et la peinture d’histoire, illustrés respectivement par les fleurs, le buste du roi et la pièce d’armure. L’association de ces trois genres dans un tableau de nature morte est peu commune dans la peinture française du 17e siècle. Il est donc nécessaire de vérifier s’il existe un lien entre les fleurs, l’image de Louis XIV et l’armure. Ensuite, le contraste entre la polychromie des fleurs et la monochromie de la sculpture et de l’ameublement est frappante ; il est possible de lier ce contraste au phénomène des débats entre le dessin et la couleur de l’Académie royale de peinture et de sculpture à la deuxième moitié du 17e siècle. D’ailleurs, les fleurs, qui n’étaient pas le sujet central dans le programme original de Le Brun, deviennent le sujet principal du tableau et occupent une place plus importante que le buste de Louis XIV. Cette modification n’a cependant pas choqué les juges de l’Académie puisque la toile a été acceptée sans contestation. Elle amène donc à s’interroger sur la hiérarchie des genres de peinture qui est la doctrine officielle de l’Académie royale de peinture et de sculpture de l’époque.
Le noyau de la recherche consiste à vérifier si les fleurs n’occupent qu’une simple fonction décorative ou si elles peuvent être associées à des symboles. Notre recherche examine d’abord l’utilisation des symboles floraux dans la culture française du 17e siècle. Par la suite, elle étudie cette utilisation dans le domaine politique, à savoir que les fleurs pourraient être liées à la louange de Louis XIV. Enfin, elle analyse les domaines artistiques et esthétiques, c’est-à-dire la façon dont le tableau reflète, par l’utilisation des symboles floraux, l’évolution des théories de l’art, la hiérarchie des genres de peinture et les débats du dessin et de la couleur, en France, durant la deuxième moitié du 17e siècle.<br>The painting by Jean-Baptiste Belin de Fontenay, Vase d’or, fleurs et buste de Louis XIV, is a reception piece of the french academician painter to the Académie royale de peinture et de sculpture in 1687.
Unfortunately having been little studied, this painting reveals three very interesting issues. First of all, it contain three kind of painting in one composition: still life, portrait and history painting, illustrated respectively by the flowers, the bust of Louis XIV and the piece of armor. The combination of these three types in a still life is uncommon in the 17th century French painting. It is therefore necessary to check if there is a link between the flowers, the picture of Louis XIV and the armor. Then, the contrast between the polychrome of the flowers and the monochrome of the sculpture and furniture is striking, it is possible to associate this contrast to the phenomenon of the debates between drawing and color of the Académie royale de peinture et de sculpture during the second half of the 17th century. Moreover, the flowers, which were not the central subject in the original program of Le Brun, become the main subject of the table and occupy a more important place than the bust of Louis XIV. This change has not shocked the judges of the Academy since the painting was accepted without question. It therefore leads to think about the hierarchy of genres of painting, which was the official doctrine of the Académie royale de peinture et de sculpture at the time.
The core of this research is to see if the flowers occupy a mere decorative function, or whether they may be associated with symbols. Our research will verify the employ of floral symbols in French culture of the 17th century and then developed this employ not only in the political field, which means the flowers are in praise of Louis XIV, but also in the aesthetics domain, that is to say how the painting reflects by employing floral symbols the evolution of the theories of art in France during the second half of the 17th century, the hierarchy of genres of painting and the debates between drawing and color.